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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Wed, 22 May 2019 11:22:46 -0400</pubDate>

				
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				<pubDate>Fri, 03 May 2019 13:58:55 -0400</pubDate>

				
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				<pubDate>Fri, 14 Dec 2018 18:15:28 -0500</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Mon, 03 Dec 2018 19:43:51 -0500</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Mon, 26 Nov 2018 18:41:36 -0500</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Fri, 17 Aug 2018 19:50:15 -0400</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Sun, 22 Jul 2018 18:01:51 -0400</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Thu, 17 May 2018 14:05:50 -0400</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Wed, 04 Apr 2018 23:48:27 -0400</pubDate>

				
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				<pubDate>Tue, 23 Jan 2018 14:19:13 -0500</pubDate>

				
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				<pubDate>Thu, 11 Jan 2018 19:40:21 -0500</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Thu, 04 Jan 2018 15:57:43 -0500</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Mon, 01 Jan 2018 16:26:47 -0500</pubDate>

				
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				<title>Maura Coughlin deposited The Spectacle of Piety on the Brittany Coast</title>
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				<pubDate>Sun, 31 Dec 2017 16:28:35 -0500</pubDate>

									<content:encoded><![CDATA[<p>Artists and writers who journeyed to the coast of Western Brittany were fascinated by the<br />
spectacle of local festive displays such as the yearly religious pardons at St. Anne de Palud. But<br />
instead of understanding ritual festivities on the Brittany coast as simply the encounter of an<br />
outsider and his or her rural other, we can read these events&hellip;<span class="activity-read-more" id="activity-read-more-1594015"><a href="https://hcommons.org/activity/p/1594015/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin&#039;s profile was updated</title>
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				<pubDate>Sun, 31 Dec 2017 16:20:00 -0500</pubDate>

				
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				<title>Maura Coughlin deposited “Inevitable Grottoes”: Modern Paintings and Wasted Space</title>
				<link>https://hcommons.org/activity/p/1594013/</link>
				<pubDate>Sun, 31 Dec 2017 16:00:30 -0500</pubDate>

									<content:encoded><![CDATA[<p>An abandoned rock quarry is a ruined, emptied landscape.  Although bearing witness to strenuous work, as a subject of representation it cannot summon the sort of national pride invested in fertile agricultural landscapes, industrious windmills and aqueducts; quarried land is an intervention better off forgotten.  When depleted, it is typically&hellip;<span class="activity-read-more" id="activity-read-more-1594013"><a href="https://hcommons.org/activity/p/1594013/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited "Narratives, Images and Objects of Piety and Loss in Brittany”</title>
				<link>https://hcommons.org/activity/p/1594011/</link>
				<pubDate>Sun, 31 Dec 2017 15:37:38 -0500</pubDate>

									<content:encoded><![CDATA[<p>How can material culture studies offer new perspectives on the study of late-19th-century art in France? How can the work of contemporary artists animate a collection of historical and locally specific objects? This paper takes up these questions by a close reading of an installation in Saint-Brieuc, along with the collections of two ecomuseums in&hellip;<span class="activity-read-more" id="activity-read-more-1594011"><a href="https://hcommons.org/activity/p/1594011/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited Representing heritage and loss on the Brittany coast: sites, things and absence</title>
				<link>https://hcommons.org/activity/p/1594010/</link>
				<pubDate>Sun, 31 Dec 2017 15:26:07 -0500</pubDate>

									<content:encoded><![CDATA[<p>This is an essay about the interplay of objects, art and visual culture in several<br />
community museums and historical sites dedicated to local social history in<br />
coastal Brittany. There, in the late nineteenth and early twentieth centuries,<br />
Breton maritime culture invented a range of compensatory ritual objects, sites<br />
and practices to account for&hellip;<span class="activity-read-more" id="activity-read-more-1594010"><a href="https://hcommons.org/activity/p/1594010/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited “Spectacle, Maintenance and Materiality: Women and Death in Modern Brittany”</title>
				<link>https://hcommons.org/activity/p/1594009/</link>
				<pubDate>Sun, 31 Dec 2017 15:19:10 -0500</pubDate>

									<content:encoded><![CDATA[<p>Both remarkable and everyday, women’s ritual maintenance of the memory of the dead was often the subject of paintings, sculpture, photography and popular illustration produced in late 19th and early 20th century Brittany. Breton popular beliefs put the dead and living in close proximity and this was expressed in a range of visual culture that c&hellip;<span class="activity-read-more" id="activity-read-more-1594009"><a href="https://hcommons.org/activity/p/1594009/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited Fish Tales: Shoreline encounters with Symbolist Mer-creatures</title>
				<link>https://hcommons.org/activity/p/1590540/</link>
				<pubDate>Wed, 29 Nov 2017 20:22:20 -0500</pubDate>

									<content:encoded><![CDATA[<p>Traditional explanations of Symbolist art’s history dwell upon revivalist attempts to plumb myth and folklore in search of animal-human hybrids: predatory sirens, alluring naiads and exotic mermaids, for example. Yet Symbolist painters were resolutely modern—among them French artists Alexandre Séon and Odilon Redon, or Americans Arthur Math&hellip;<span class="activity-read-more" id="activity-read-more-1590540"><a href="https://hcommons.org/activity/p/1590540/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited Skull boxes</title>
				<link>https://hcommons.org/activity/p/1585358/</link>
				<pubDate>Mon, 23 Oct 2017 16:02:43 -0400</pubDate>

									<content:encoded><![CDATA[<p>Skull boxes that both memorialized a dead individual and displayed the deceased person’s skull were made in Brittany from the eighteenth century to about 1900. In Breton churchyards, prior to the First World War, the ossuary, or charnel house (located in the churchyard or attached to the church), was the receptacle of bones of the dead taken f&hellip;<span class="activity-read-more" id="activity-read-more-1585358"><a href="https://hcommons.org/activity/p/1585358/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin deposited “Biotopes and Ecotones: Slippery images on the edge of the French Atlantic”</title>
				<link>https://hcommons.org/activity/p/1578868/</link>
				<pubDate>Tue, 15 Aug 2017 16:59:13 -0400</pubDate>

									<content:encoded><![CDATA[<p>Several images of the French Atlantic shoreline that I discuss in this essay imaginatively engage with the ecology of the edge of the sea, including its human and non human biological communities.  Coming from a visual studies perspective, I am interested in articulating an ecological realism of the French Atlantic coast: looking at the&hellip;<span class="activity-read-more" id="activity-read-more-1578868"><a href="https://hcommons.org/activity/p/1578868/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Maura Coughlin changed their profile picture</title>
				<link>https://hcommons.org/activity/p/1578863/</link>
				<pubDate>Tue, 15 Aug 2017 16:48:32 -0400</pubDate>

				
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				<title>Maura Coughlin&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1578862/</link>
				<pubDate>Tue, 15 Aug 2017 16:45:04 -0400</pubDate>

				
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